Okay but let's look at it from Arthur's point of view.
He's an arrogant prat and then this twink comes into his life and makes him rethink every decision and his way of thinking. He starts to loosen up and make real relationships with people.
Then he is betrayed by his father. His sister. His uncle. And let's face it. His girlfriend. Because this is Arthur's view and he doesn't know what is going on behind these betrayals.
He doesn't know his sister was his sister or had magic. He didn't know when she turned on him. And he loved her and cared for her. And she's standing there giving that evil smirk and blaming him for everything and the poor sod doesn't even know how this came about.
Then he sees his uncle whom he trusted despite everything with a sword in his hand and he doesn't even know where he went wrong or what he did to get in this situation.
Then there was also his girlfriend who he loved with all his heart. And she went ahead and kissed Arthur's knight who he had chosen. The knight who represented the biggest change that had come in Arthur because he was the first knight Arthur chose.
And despite all this, he forgives and loves and still trusts people who come in his life.
And then there's a new knight who represented the growth and prosperity of Camelot. And let's face it, Arthur was not wrong in killing Kara. He gave her a trial and heard her side. But this knight then betrayed Arthur and stabbed him and went to the sister whose betrayal Arthur still had not come to terms with.
And then the twink. The best friend. The one constant in Arthur's life lied to him. About a core part of him. And the first reaction Arthur has is that 'he would know'. That despite everything, Merlin was someone Arthur knew. And yet, all it took was a little time and some stilted conversation to overcome one of the biggest fears of his life. Magic was something that had disrupted his entire life and yet, all it took was this one peasant having it because that's the kind of person Arthur is.
Arthur trusts and loves and gives it his everything. But he also forgives and grieves and blames himself more than he blames others. Even if he had no fault in it. He is resilient and stupidly brave.
'I want you to always be you' will stay with me forever because despite not knowing about the magic, Arthur did know Merlin. Arthur knew what Merlin needed. And he has come a long way from an Arrogant Prat to becoming the Once and Future King.
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and today in sometimes i write shit that fucks me up for weeks: time travel au steve & trees
Steve gets up. Goes into his room — not his room at all, it’s not his home, it’s not his — knowing Hopper won’t follow him, locks the door knowing El will unlock it if she needs him, and crawls under the blanket. He doesn’t cry, just curls up and lies there in numb misery of feeling too much, thinking too much, knowing too much, and not having the right words to express anything.
The air under the blanket gets too warm to really be comfortable, but he doesn’t want to move. He’s turned into a tree again, as El would put it. Another pang of guilt and misery runs through him, because he doesn’t want to be fucked up like that, fucked up enough for a child to call him a tree because he loses his reality a lot; but then the thought of being a tree almost feels so relieving it makes him want to cry.
Because trees don’t think about their friends dying. Killed. Murdered. By forces greater than this world’s imagination. Trees don’t watch the blood seeping from them over and over again until they lose their minds and go into shock that this world doesn’t support, instead tugging him back and forth until all there is is nothingness, because there is no time to think or feel or process, and once there is time, there is too much to even start. And no one to talk to about it. No one to listen.
If he could turn into a tree and never have a single thought again, he would without hesitation.
But he can’t, so he thinks, and the thinks until he falls asleep and the thoughts turn into memories morphed with fears until it’s Steve who kills them. Steve who fails. And Steve who does it over and over again. In the Upside Down, in Eddie’s trailer, at school, in Mike’s basement.
It’s Steve. Like it was Billy.
[…]
Walking on legs that haven’t quite accommodated to being upright yet, stiff and heavy in the dark of night, Steve makes his way through the forest, tumbling and stumbling, but never enough to make him stop. He’s heaving breaths now, willing the cold air into his lungs to stop everything from feeling so wrong, to break through the haze and the fog and the cotton, to pierce his insides with little pinpricks of ice as December is fast approaching. It only serves to make him more dizzy, his head spinning, glowing spots of black and white appearing in his field of vision until he leans against a tree, catching his breath and holding it.
Holding onto it with whimpers and wheezes and pathetic little groans that make him want to scream. He punches the tree, his hand numb with pain upon impact, his knuckles stiff and scraped up; bloody, even in the pitch black darkness.
Bloody. His hands are always bloody. It stains them, has seeped into his skin, like a reverse tattoo that only he can see. This, though… This is real. It’s his blood.
And so he punches again. And again, until his breath has evened out, and the pain has moved from his arm and his side over to his hand. Over to something real.
He flexes his fingers and watches them, can barely make out their shape, and focuses on the pull of his skin, the scrapes making it feel too tight — but in a real way. In a way that… he’s not going crazy. It’s real. It’s all real. And it’s burning, sizzling along with all of that anger, the grief, the confusion, the complete and utter fucking lostness. The loneliness.
Steve punches the tree one more time, then turns around to put more distance between him and familiar walls and stale air and worried glances so heavy they slowly scrape away the scar tissue growing over all those rawest of feelings.
He walks and walks without direction or destination, simply placing one foot in front of the other as his racing heart calms down and he is overcome with an absolute, all-consuming kind of exhaustion that makes him sway the very second he stops. His eyes are getting heavy, like his body is slowly coming to the realisation that his beside clock said 3:38 a.m. and that he hasn’t slept through the night for some days now, or maybe weeks, always awoken by nightmares — on days that he even dared to fall asleep.
No one should have to feel this kind of exhaustion, Steve thinks. Even after the Russians, after torture and fighting and more torture, followed by running and more running and almost dying in a car crash and then in a fire… Even after all that, he wasn’t as exhausted as he feels right now.
Probably because back then, he had Robin. Robin who would hold his hand, Robin who would share a glance with him and resuscitate everything that died inside of him with just one brave little smile.
God, she was so brave.
Steve leans against a tree, closing his eyes for just one second as he pictures Robin — alive and smiling and determined. Robin, in the passenger seat of his car at ass o’clock in the morning, grumpy and tired, leaning in to give him a hug hello and a hug goodbye. Robin, who would roll her eyes at his antics, his insecurities and his worries — Robin, who would explain hours later, her hand in his, that he had no reason to doubt or worry. That he was fine. That he was perfect. That everything else would slot into place soon and be perfect for him, too. Payback, she’d called it.
Payback, he thinks now as he heaves another breath, willing it through his constricted throat, and just barely keeping himself from screaming. Payback, because he failed. Payback, because he watched her die and nothing, nothing good will ever come out of that.
As much as he will try to save her, she will always have died. As much as he can try to keep her safe this time around, he will always have failed her.
That’s nothing he can take back. Ever. Nothing he can fix. Nothing he can make un-happen.
It’s the cruellest constant.
One that won’t leave him alone. One that won’t let him sleep at night, one that won’t leave his head even for a minute, flooding his consciousness with memories of blood and failure, weighing down his conscience until he can’t fucking breathe, and—
A sob escapes his throat even as he stumbles forward, continuing on his nonexistent path that feels a lot like running, fleeing from this new life, as though he could magically make his way back to the old one. Because they have died. They’re dead. He watched them. This new world won’t fix that. Won’t fix him. And he doesn’t deserve fixing anyway.
So he runs.
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oh ohhhhhhh ohhh wait. wait a fucking minute. listen. listen!!!!
flayed!billy and neil having an run-in a few days before The End. flayed!billy not scaring as easily, actually not scaring at all, compared to actual real!billy. turning right back on neil. except the mindflayer has a soft spot for his host becos the mindflayers fucked like that, so instead of just killing neil, the mindflayer decides to play with it's food for a bit.
real!billy doing his Thing and managing to get that one tear out. becos his dad may be a piece of shit but surely, surely, out of everyone, he would be able to figure out something's wrong. that billy's not billy. the desperation and the hope that maybe this is it, maybe this is only option, maybe making him just that little bit stronger. maybe him getting a 'dad, help, please' with a few more tears out before the mindflayer takes over again. but neil's a fucking coward at most and a piss poor excuse of a father at best, so he takes one look at billy crying, begging, and shakes off any doubt's and worry's, and treats him like he always does when billy turns to water under his weight.
he makes his voice harder, his grip tighter. his words crystal fucking clear.
and then flayed!billy is shoving him off, stronger than neil's ever felt him, and he's laughing, but not in a way neil's ever heard him laugh. and then he's turning to walk right out the door, camaro keys in hand, even though neil just grounded him for the entire fourth of july weekend, except he turns around just before he makes it outside, face completely blank and familiar, but neil's never seen this person before in his life, and says 'when billy and i have finished what we started, i'll come back for you.' and then he's gone.
and neil picks himself up from where he was crumpled against the kitchen counter, shakes himself off, and denies everything that just happened in the past 15 minutes. grips the bench to stop his hands from shaking, and promises himself that next time he sees billy, then he'll really let him have it. that just because billy thinks he's old enough to throw his own weight around, doesn't mean he's gonna get away with it under this roof.
except billy never comes home, and then it's the fourth of july, and neil and susan are trying to enjoy a nice dinner at home, a dinner that both their children were meant to be home for but aren't, but at least him and susan are having a lovely night. they enjoy it right up until the phone rings late that night, and then they're speeding to starcourt mall, and there's smoke and flashing lights and fucking military everywhere, and max is distraught, hugging susan like she's the only family she has left, and no one will tell him anything about billy except for a brief 'billy didn't make it, we're sorry for your loss.'
they won't let him identify the body. won't even release the body to be buried. won't tell him why all those people were in the mall after opening hours, what max and her friends were doing there. what started the fire. why there was fucking military clearing the scene. won't even give him a cause of death.
and every single time he closes his eyes, he hears 'when billy and i have finished what we started, i'll come back for you.'
he starts hearing it when his eyes are open, too, when he's trying to put together the funeral. when he tries to go back to normal life, back to his job, where his boss pulls him aside and gives him time off until his current family situation can stop effecting his work, back home, where there's no longer loud music shaking the doors, no car flooring it up the street, no fourth place set at the table for dinner, no shitty attitude and lousy excuses and brave backtalk.
everything's suddenly so fucking quiet.
so he fixes it. overcorrects. takes his sleepless nights and his workless days out on susan, is loud and brash and a constant immovable object. makes sure it's never quiet again. susan kicks him to the curb within a month, threatening police involvement if he doesn't leave quickly and quietly.
so, he leaves.
(then, susan and max leave for the trailer park, becos neil Left. and that's all susan will say on the matter. and then the upside down comes back with a new big bad, and max is right back in the thick of things in a way she never was before, but then suddenly billy's back. billy's alive, and he's back, and he's pulling himself with his bare fucking hands out of the upside fucking down before reaching around and helping her pull herself out and he's covered in blood and black goo and scars and injuries for days and, honestly, she probably doesn't look much better, but he's coughing and bleeding yet his heart's still fucking beating. and they somehow fucking found and saved each other.
and max is sitting by his bedside in hospital after every single surgery, and she keeps him company and puts headphones over his ears to listen to music and picks out the comic books that she knows he likes to read and she does her best to just never mention anything home related.
billy makes it a week after being back from the dead before he asks about neil.
'he left,' she says, because that's all that matters.
and billy fucking remembers. he remembers how hard he fought, how it took everything within him to overpower the mindflayer, even for those brief few seconds. how the only thing on his mind was this is it. this is my only chance. this is all i've got. and he remembers neil's eyes, wide, scared, fearful, but the second billy broke through, the moment billy shed a tear, fucking begged for help, his voice cracking over the word 'dad', neil went from speechless to loud. his eyes going from uncertain to cold. how the one time billy remembers asking his dad for help, probably the first time he's asked his dad for help since he was a kid, neil didn't even take even a moment to think about it. just took one look at him begging and crying, and steamrolled right over him, fucking sentenced him to death. all because he asked for fucking help.
billy closes his eyes and nods, doesn't think he could ever face neil again without falling apart for good.)
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Thinkin abt The Long Halloween film, (& spoilers for it), and remembered someone once complaining they made Gilda’s character bad in the film adaptation of The Long Halloween and a whole ‘she’s just evil because she can’t have kids anymore’ trope and like??? I have to kick in a door and say HUH??? What movie did you see?? Like the character is hella different from the comic yes, but 1, not necessarily in a bad way, a 2, that’s not her motive??? At all?? Like she’s not happy about that, but she’s not ever a ‘im inhuman now I can’t bear kids…’ The woman wants revenge because she experienced an insane trauma, and a betrayal, and the justice system is so broken that even as a lawyer herself, doing everything right, it left her empty and broken and abandoned too.
If anything, she’s just a strong foil for Harvey. She is never like ‘I can’t bear kids so now I must kill’— she’s like ‘I was in love and engaged to the man of my dreams and pregnant with our child, starting my career and family and unbelievably happy, and then his mafia father said ‘no’ to the union and child, and he just…abandoned me. For the family. I fought it, and he didn’t. He didn’t stay, he didn’t protect me, he didn’t love me. He didn’t even try. He let them cut my child out and kill it in front of me while I went kicking and screaming and fighting under the blade 8 months pregnant in a gang nonconsensual abortion, and left me literally hollowed out and alone to ‘recover’ from that, and nothing changed for anyone but me. I died that day, and no one faced ANY consequence. Not even guilt. I lost my ability to do my job, I lost my future, my hope, my ambition, my kid, my plans, my personality, my desire, my emotions, my being. I walked around as a shell. And when the justice system failed me, I found a lawyer who cared and was gunning for that mafia family, and married him, gave him more reason, but even he and Batman and the whole police force weren’t enough to stop them, so I decided to do it myself. I killed them, one holiday at a time, until everyone I wanted dead was fucking dead, and I got my justice.”
That’s an incredibly understandable, well done motive. What she did to Harvey specifically is fucked as hell, but she’s not a badly written lady. I love her comment about Harvey at the end that “We were so similar. Just. What was inside him hadn’t been ripped out yet.” Because she knows (and literally says) how broken and hollow what happened to her made her, and she can tell that what’s happened to him by the end of the story has done the same thing. She’s an incredibly cold and brutal character, but the bitch is well written.
Like, she’s an excellent tragic film noir parallel for Harvey in the film. They go through almost the same trajectory. She is a hopeful young lawyer who believes in Justice who is betrayed and broken by the Roman’s people, and turns to extreme violence outside the system to get her justice when the ‘right way’ fails her. Harvey is literally the exact same thing, and scarred the exact same way, and changes to violence because of it. They both even say the very iconic ‘It had to be done’ close to the end of the film, in their last major scenes. Not echoing each other—neither hears the other. They just felt the same. The deep tragedy of the narrative is that in her search for justice, Gilda did to Harvey what was done to her—an utter betrayal and abandonment by beloved spouse. And he does not do to her what Alberto did. He takes the fall for her, even after the things she’s done, to him, because he loves her. The narrative repeats, the cycle of pain repeats, with the Roman at the heart of it, but with slight aberration because of the people involved this time. And if that ain’t film noir.
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Okay so i still have L5R verymuch on the brain and trying to find ways to incorporate a fun occult supernatural plot to things I can't help but look back on Samurai Sentai Shinkenger of all things and love what a fucking wildly good premise it had. Not for the stupid hero squad, but for the villains.
The Gedoshu[外道衆]: "Heretic/Demon Masses" (lit. Gedo[外道]: "Outside-way") are the race of monsters, ayakashi, menacing tokyo every week. But unlike the usual invading force of aliens or whatever else that every season of super sentai has, the gedoshu leader, Chimatsuri Dokoku, has a very specific goal and and very specific mechanism behind it.
In this setting the ayakashi are all former humans who transform directly into monsters after committing some corrupting act, usually tragic, that allows strong negative feelings to consume them. And any time humans feel misery and sorrow and pain, their tears become the water on the river Sanzu, the river that divides the world of the living and of the dead, and from those waters new monsters are inevitably born --never crossing the river to the afterlife, yet not truly alive or human anymore. And it is on a boat on that river that the big boss, Chimatsuri, has been sealed in a kind of limbo between life and death.
So, to facilitate his escape and ultimately revenge, he sends his minions to earth in order to cause so much human suffering that the river Sanzu overflows, allowing him to just ride his ship into the human realm without technically breaking the terms of his imprisonment.
And like? That's so fucking cool??? Like that is a great set up, and it's just wasted on a regular rotation kids' saturday morning show??? And I love that unlike the usual routine of slapping some monsters around once a week, the premise makes it clear that the villains are still very much making progress towards their goal even if the heroes beat them. The accumulation of human suffering is inevitable, it's just a question of how soon it'll hit critical mass, which is maybe the best way to keep the enemy threat feeling real even as they continually lose individual fights.
Also this season had kind of a mixed bag when it came to monster of the week designs, but the big recurring villains were all phenomenal
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